Purcell: Royal Welcome Songs for King Charles II. Vol II The Sixteen, Harry Christopers Coro COR16173.72’27
The Sixteen continue their series of music written by Purcell for royal occasions with this 2019 recording. Designed to promote King Charles II as a strong and stable (a familiar phrase) and divinely appointed monarch, the music is by turn delicate and grand, celebrating the nobility of the King and his apparent political triumphs. The highlight is the 1683 Welcome to all the pleasures notably the jubilant concluding chorus in praise of St Cecilia: In a consortof voices.Continue reading →
Symphony No. 5 Le grand Inconnu & The Sun Danced
The Sixteen, Genesis Sixteen + Alumni, Britten Sinfonia
Mary Bevan, Harry Christophers
You wouldn’t normally associate The Sixteen with a recording of a Symphony. But with their continuing involvement with the music of Sir James MacMillan, which included giving the premiere of his Stabat Mater in 2016, it was perhaps inevitable that, with his thoughts of making his next symphony a chorale piece, a commission was put together for a choral symphony, sponsored by the Genesis Foundation. This is the premiere recording, made live at a concert in The Barbican, London, on 14 October. Continue reading →
Handel: Acis and Galatea
The Sixteen, Harry Christophers
Coro COR16169. 2 CDs, 89’03
This is an attractive reappraisal of Handel’s Acis and Galatea, the one-Act “Little Opera” (as described by Handel) that he composed in 1718 for performance at Cannons, the grandiose (and no longer existing) seat of the 1st Duke of Chandos, James Brydges in what is now a North London suburb. It seems likely that it was performed outdoors to a selective audience of house guests on a terrace of the county house, although it is not clear to what extent it was staged. It subsequently went through several incarnations and revisions during Handel’s lifetime. On this recording, Harry Christophers returns to what might have been the original Cannons version with just five singers and small-scale instrumental forces of just nine players, with pairs of violins, cellos, oboes/recorders with a three-strong continuo section of theorbo, harp, and organ/harpsichord. Continue reading →
A Renaissance Christmas
The Sixteen, Harry Christophers Coro, COR16167. 67’11
The publicity blurb that came with this CD refers to it as “a perfect alternative to traditional carols”, and it certainly is. Perhaps trying to seek forgiveness for their 2015 release, The Complete Traditional Christmas Carols Collection (recorded in 1991), The Sixteen here concentrate on music from the Renaissance era. They bring their particular brand of highly professional choral singing to a well-balanced sequence of pieces from composers born between 1505 and 1580, a period when the Renaissance reached its zenith as religion in Europe reached one of its periodic nadirs. Continue reading →
Song of the Nativity The Sixteen, Harry Christophers Coro COR 16146. 73’58
The Sixteen’s Christmas offering combines traditional with contemporary-lite pieces that, according to the Coro website “by their unashamed simplicity, captures the joy and sincerity of this most wonderful of seasons. This album provides a perfect peaceful and uplifting antidote to the hectic pre-Christmas rush.”. That sums it up pretty well. The composers represented range from Henry Walford Davies (b.1869) to still-living composers ranging from Morten Lauridsen (b.1943) to the youngest composer, Will Todd (b.1970). With what I assume is aimed at a Classic FM audience that The Sixteen seem to have captivated, there is nothing to frighten the musical horses but, equally little, if anything, to encourage younger or more adventurous composers.
The early pieces work best, but the contemporary compositions left me yearning for something more, err, contemporary.
Helper and Protector
Italian Maestri in Poland
The Sixteen, Eamonn Dougan
Coro COR16141. 67’32
Eamonn Dougan, associate conductor of The Sixteen, continues his exploration of music from Poland with this CD of music by Italian musicians in the late 16th century during the reign of Sigismund III Vasa. Sigismund III ruled the Polish/Lithuanian state at a time of religious upheaval. Raised a Catholic his Polish mother in the Protestant Sweden of his father (the King of Sweden), he soon became involved in the Counter-Reformation, seeking out musicians from Rome to help in his quest.
The most notably of these was Luca Marenzio, represented here principally by his superb Missa super Iniquos odio habui. This is the first complete recording of this work, much of which Continue reading →
Monteverdi: Messa a Quattro voci – Vol 1.
Coro COR16142. 71’29
Monteverdi: Dixit Dominus (Primo), Confitebor tibi Domine (Secondo), Lauda Jerusalem; Cavalli: Magnificat; Monteverdi: Laetatus sum, Nisi Dominus, Laudate pueri, Laetaniae della Beata Vergine, Beatus vir.
In the last two years of his life, Monteverdi collected a substantial amount of his music for publication (the Madrigali guerrieri et amorisi, 1638, and Salve morale et spirituale, 1641), reflecting his musical output over the previous decades. After his death, one of his publishers had the good sense, or the commercial sense, to put together some unpublished manuscripts to form the 1650 Messa a 4 v. et salmi a 1–8 v. e parte da cappella & con le litanie della B.V. This is the first of two CDs from The Sixteen of music from this posthumous collection: the Mass setting of the title will be on the second volume. This CD includes a selection of liturgical pieces, but not in any specific liturgical context, with several Vespers Psalms, a Litany to the Virgin Mary and a Magnificat by Cavalli who probably assisted in the preparation of the publication. Continue reading →
Tallis/Byrd: Miserere nostri Tallis: When Jesus went into Simon the Pharisee’s house. Byrd: Diliges Dominum, Christe qui Lux Miserere mihi, Domini, Tribue Domine, Emendemus in melius, O Lux beata Trinitas, Ad Dominum cum tribularer, Laetentur coeli; Pärt: The Deer’s Cry, Nunc dimittis The Woman With The Alabaster Box;
If you are mathematically minded, this might be the CD for you. Some of the most complex examples of English contrapuntal wizardry from Tallis and Byrd are balanced by more recent, but equally complex and evocative music, from the Estonian composer, Arvo Pärt. As the programme note explains, “Here, Tallis and Byrd meet Pärt on common ground”, although at times, Pärt’s music can sound earlier than that of Tallis and Byrd with its sense of mediaeval structure and texture. This CD will whet your appetite for The Sixteen’s 2016 Choral Pilgrimage, when you can experience this music performed live in some of the most beautiful venues the UK can offer.
The CD opens with Byrd’s extraordinary eight-voice Diliges Dominum, a palindrome (or ‘crab canon’) that sounds exactly the same (words excepted) whether performed forwards or backwards. Almost certainly an act of pure Continue reading →